張貴興暌違十七年之作《野豬渡河》呈現了他擬構雨林肌理，探討人、動物與大地關係的野心。現有論述偏重歷史再現、族群議題和國族論述，僅將雨林視作故事背景和隔岸奇觀，未能察覺複雜且充滿張力的雨林圖景。本文將重新審視《野豬渡河》形塑的雨林空間，發掘雨林在國族話語陰影下的未竟之地。借助德勒茲與瓜塔里的「地理哲學」，本文以「製圖學」的視野，提出小說的「雨林製圖學」，見小說如何繪製與斟測雨林的空間形態，以及各種力的配置、交互和解離。討論分成三部份：先闡述英、日帝國對土地的佔有、對身體的規訓，討論權力的疆域圖式；繼而展示人與動物間的流變，見雨林內異質共生的生命；最後以雨林內戰爭機器的運作、身體的死亡與重生，呈現生命與大地的解域運動，圖繪一幅充滿活力、綿延及去中心的雨林地圖。張貴興以文字繪製雨林圖景，從國境領土處逃逸，將生命交付予森羅萬象、流變生成的雨林世界。

Chang Kuei-Hsing’s novel Wild Boars Cross the River embodies his ambition to construct an inner realm of the rainforest and explores the intrinsic relationship between humans, animals, and the earth. However, existing studies predominantly center on the historical as well as racial representations in the novel and how they contribute to a national allegory; in so doing they relegate the rainforest to a mere scenic element whose intricate and intense nature is disregarded. Drawing on the discussions of “cartography” by Gilles Deleuze and Felix Guattari as an aspect of Geo-Philosophy, this paper reexamines the rainforest as narrated in the novel, names such novelistic intervention as “rainforest cartography” and elucidates its interaction of dynamic forces. This paper is structured into three parts. First, it reveals the empire’s power schema which demonstrates the territorialization of land and the governance of bodies; second, it explores the heterogeneity of life through the “becoming” of humans and animals; third, it presents a decentralized view of the rainforest that emphasizes the durativity and vitality of the earth. Chang’s writing and mapping transcend the limitations of national boundaries and network their existence with the all-encompassing and constantly evolving rainforest.